BlissfullyMuse

Guy Rupert Berryman Age: 24 Height: 5ft 10in Weight: 9.5 stone Favourite colour: Don't have one. Not yellow. Favourite band/musicion: James Brown One thing you wished Chris wouldn't say or do: "We're not making another album."

REMINDER this is an old interview thingy so the ages r wrong William Champion Age: 23 Height: 6ft Weight: 14 stone Favourite colour: Blue Favourite band/musicion: Tom Waits One thing you wished Chris wouldn't say or do: "He should learn to cook. He has two meals in his repertoire---both highly dangerous."

OFFICIAL Jonathan Mark Buckland Age: 24 Height: 6ft 2ins Weight: 12.5 stone Favourite colour: Green Favourite band/musicion: Jethro Tull ("That was a lie"). One thing you wished Chris wouldn't say or do: "I didn't like it when he apologised all the time when we played. Thankfully he's stopped now."

Q Magazine Coldplay's Chris Martin: he just wants to tell Radiohead he's sorry. Hello, where are you? In bed. It's our round, what are you having? Lemonade with orange juice with bits in it, no ice, pint glass. Can you remember what you were doing 15 years ago? I was at school. You weren't allowed to wear trousers until you were five foot tall, so I'd have been trying to grow. What was the worst thing about being 15? I was the unhappiest I've ever been. Did anything happen to you when you were 15? I told my music teacher I was going to be in a band. I knew and he knew. What do you wish you knew then that you know now? I don't wish I knew anything different. I was nine so I'm glad I knew about Transformers. I knew nothing about pleasuring a lady. What's your worst fashion faux pas of the last 15 years? Whe I was in my teens I thought wearing trousers made in India was the coolest thing. What's the best record of the last 15 years? Gavin Bryars's Jesus' Blood Never Failed Me Yet. If you weren't a musician, what would you be? Trying to be one. What music are you listening to now? Ron Sexsmith. It pisses me off that you don't get Ron Sexsmith in the charts, but you get Coldplay. What's been the highlight of the last 15 years? Everything's a highlight when you get up and the hardest thing you have to do every day is say the word "yellow" eight times. What's your personal motto? Never give in. I love the whole preparation for battle thing. What was the last time you heard Parachutes? I don't listen to it because it's impossible for me to like it now. Have you ever smashed up a guitar? No, I'm cheesy. I think there's some guy in the audience who can't even afford a guitar and I'm about to smash one, so I don't do it. Where do you see yourself in 15 years' time? I suppose I'll be the singer in a Coldplay tribute band. What do you think of Radiohead? When we won best band at the Brit Awards the first thing I did was apologize to Ed O'Brien. They're amazing. Can you sum up the last 15 years in one word? No. What's next? We're going to a pub quiz with this funny, famous lady. Sorry, I can't tell you who it is.

Coldplay get ready to rumble Coldplay's 2000 debut album Parachutes -- featuring their breakout hit "Yellow" -- garnered them various awards and made them internationally famous, but they were determined for their story not to end there. Eager to beat the sophomore slump, the British rockers recorded a batch of songs earlier this year as soon as they finished touring. Two months into a mixing session in Liverpool, Coldplay realized that something wasn't quite right. That hunch led to a songwriting spurt that yielded the epic guitar rockers -- and the gorgeous piano ballad "The Scientist" -- that make up the band's appropriately named new album A Rush of Blood to the Head. So does Rush live up to the expectations set by Parachutes? Frontman Chris Martin has no idea. The debut record blew up in a big way. What was that experience like for you? For a while it amused me and I couldn't understand it, and then that was overcome by the fact that I live for being in Coldplay. I would be upset if it didn't blow up. It's two polar opposites inside our heads because on one hand, we think, "Shit, all these people are listening to us," and on the other hand we think, "Why aren't more people listening to us?" Especially when we came to America last summer for a few months -- that was so cool for us because everybody started to enjoy the fact that people were buying the record, and it gave us amazing freedom on our new record to do exactly what we wanted. How did you guys deal with some of the criticism you got for the last record, for instance the comments of people like [Creation Records founder] Alan McGee, who called you "bedwetters"? We get praised and criticized in pretty much equal measure. For every person that likes us there's probably ten people that hate us, but only one of them is brave enough to say it. For a while that really frightened us but then we watched [the documentary When We Were Kings] where Mohammad Ali trains for the George Foreman fight by getting hit in the face repeatedly, and that's the way we try to deal with criticism now. We just try take it on the cheek and get on with it. How do you feel you've progressed as a band since Parachutes? That's a tough question because somebody might listen to it and think we've regressed, that we've gotten worse. The only common thread between the two records is that we've been obsessed with the idea of melody and emotion and making a song as passionate as possible. I really hate trying to analyze our own records. To me, it's like being asked to mark your own examination papers. I'm not very good at it. And however hard I try, it's always going to be biased one way or another. Some days I wake up and I think, "Shit, we're better than the Beatles," and the next day I wake up and think, "Oh dear!" It's a very strange time when you're waiting for a record to come out because you don't know what anyone's going to think of it. In a sense, our job is a bit like fishing: We can do our best to get all the equipment but you just never know whether there are going to be fish there. And it's the same with songs. When you get a big song, it's just mad because you don't feel you can take any credit for it. What did you feel was wrong with the initial recording sessions for the album? To us, it sounded OK, but it was just sounding a bit like a band who had loads of money and could afford to make any expensive record, and it didn't really have any passion or soul. And that's what we wanted to get, so we moved out of London and went to a tiny studio in Liverpool with basic equipment. You have to rely on the tunes and the emotions, rather than the heavy technology. There's a song on the record called "The Scientist," which arrived from nowhere and we don't know where it came from, except I know we'd been listening to George Harrison in the weeks before that. And when that song came out, it gave us this amazing freedom and we thought maybe we can allow some new songs to come along. We don't have to stick to our plan. We can let the songs take over. That was the real turning point. I, like lots of people, have the capacity to overanalyze things that are going well and hence destroy them, and that's what it's about. It was written because my friend had just broken up with his girlfriend, and I'm always having disasters with girls, and it was just about me and him always messing it up, just by trying to complicate things too much. I heard Ian McCulloch dropped by the studio in Liverpool. He was around a bit. It was really nice and we sort of became friends with him, because he's from Liverpool obviously, and we used to see him in the studio occasionally. He wasn't there telling us what to do, but it was nice to have him around sometimes as a voicing board. We took loads and loads from the [Echo and the] Bunnymen certainly in terms of being inspired, so you know, we'd already stolen all his ideas. You recently went to Haiti and the Dominican Republic on behalf of Oxfam. How did you get involved with that? We were asked to get involved with this Web site called http://www.maketradefair.com, which is basically an online community that will hopefully grow enough to put pressure on politicians to address some of the issues of world trade. At the moment it's grossly unbalanced in favor of Britain and America. I went to Haiti, just to see what happens when people aren't paid enough for their goods or when they're forced to work for hardly anything for big clothes manufacturers or food manufacturers, and it's the most disgusting exploitation on such a massive level by big companies and by the trade laws themselves. All this open market stuff is just frightening because the smaller and poorer countries just get squashed with really cheap imports and stuff. My job is just to promote the Web site. The reason we got involved is that we kept getting asked to do commercials and advertisements, and we just didn't want to do any of them because everybody sells out. You look at the new Austin Powers movie and it's just sort of product placement, and that stuff makes us really angry. We really wanted to advertise something that we actually cared about -- and we do care about issues of trade -- so we're prepared to risk looking stupid to talk about it. Coldplay tour dates: 9/4: Seattle, Paramount Theater 9/6: Berkeley, CA, Greek 9/7: Las Vegas, The Joint 9/9: San Diego, CA, Open Air Theater 9/10: Los Angeles, Greek Theater 9/14: Atlanta, Masquerade 9/16: Baltimore, MD, Pier Six Concert Pavilion 9/17: Boston, Fleet Boston Pavilion 9/19: Wantagh, NY, Jones Beach Amphitheater 9/21: Toronto, Ontario, Air Canada Center 9/24: Chicago, UIC Pavilion

With Guy Coldplay are putting the finishing touches the follow-up to their breakthrough debut, Parachutes. Currently working in George Martin's Air Studios in London, the group is once again using the production skills of Ken Nelson. The album is scheduled for released in June, but bass player Guy Berryman isn't sure that will allow the band enough time to complete it. "It's panic stations at the moment because we've got a deadline we're trying to meet," Berryman says. "And I don't think we're going to meet it. We've got a lot of pressure on us. We're trying our best, but if we think we haven't done it justice, then we're going to have to spend longer. Whenever we deliver it, it will mean it's finished. I'd hate to rush the end of the record, rush the mixes because we have to get it in on time." The album's lead single -- tentatively titled "In My Place" -- is scheduled to hit radio in two weeks. Like the rest of the new album, it combines the same recipe of shimmering guitars and emotional outpourings that garnered Coldplay heavy radio and video rotation with their past singles "Yellow" and "Trouble." "It sounds like Coldplay," Berryman says of the album as whole. "You'll recognize it as being us, but it's more energetic and upbeat, more confident. We've grown as people and musicians and we're quite confident we're going to deliver a record that meets all our fans' expectations. I think we've come up with a good follow-up." The group's success hasn't had much of an effect on the songwriting process, according to Berryman, who points out eighty-five of the new album was written while on tour. "I don't think we've been influenced massively by our success and by our travels," he says. "The lyrics [singer Chris Martin] writes are more basic than that, more basic, emotional ideas rather than life experiences. There's probably a few lines in there which reflect what's happened in the last year or so, but it's hard to say."

BRIT POP Theory: Everything British turns to gold when it comes to pop culture. Proof: The Beatles, the Rolling Stones, Oasis and now COLDPLAY. Reporter Zach Feldberg talks to one of Coldplay's strapping blokes to find out more about the magic touch. Zach Feldberg Wanna buy a ceramic Oasis logo?" asks a grinning pigtailed girl. She's attempting to sell a red- and blue-tiled object to a few dozen concertgoers at Toronto's Molson Amphitheatre who are waiting to see the British band. Some look on with interest, while others turn away, chuckling. The tiled "logo" after all, is nothing more than a footlong Union Jack. The "Oasis" stamp is nowhere to be seen. The girl is selling a souvenir flag. It's no surprise, though, is it? That famous emblem that once represented heraldry and the Commonwealth has been an icon of popular culture since the early 1960s when the Beatles' 'Love Me Do' first crossed the Atlantic and incited the British Invasion. The Union Jack's enduring power is a product of the influential culture that has pumped out of the United Kingdom ever since. Think of punk rock, mods and the Mini. Their tastes become our tastes. Their trends become our trends. Their biggest bands also become our biggest bands. And right now, Coldplay is their biggest band. The four gents who make up Coldplay - Chris Martin, Jon Buckland, Will Champion, and Guy Berryman - met at the University College of London and started the band in 1998. Originally called Starfish, the foursome formed to have fun and fool around on acoustic guitars. The strapping blokes, all from working class families around the UK, got along well very early on. Shortly after forming, they realized that they wanted to have more than just fun - they wanted success. But success would become an underrated term to describe their achievements. After a small indie deal, the band was picked up by Parlophone, a UK label, and was given a chance to strut their stuff on a much larger scale. What resulted was Blue Room (1999), a 5-song EP that introduced the band to British audiences. While this record was elegant, it didn't cause the stir that surrounded the year-later release of Parachutes, the band's first full-length. The dazzling collection of hauntingly emotive gems boasted a strong pair of commercial singles in 'Yellow' and 'Trouble.' The bleary acoustics, fragile vocals and dissonant guitars proved an irresistible package, and music lovers took note. Parachutes saw Coldplay rise to extraordinary heights. After that release, the band members got involved with Make Trade Fair, an anti-globalization group that promotes trying to end world poverty instead of Western wealth in the international trade game. And then, somehow, after exhaustive touring, legitimate break-up rumours, and a seemingly endless stream of press, Coldplay headed back into the studio. This October they released their latest full-length offering, A Rush Of Blood To The Head. Its 11 songs are every bit as endearing as the ones that make up Parachutes, but offer even more sincerity. The album works because the songs are believable. They are the songs of a band that strongly considered splitting up only a year ago. They are the songs of four guys from working-class roots who still yearn to create music that's unique and passionate. Despite those artistic goals, A Rush Of Blood avoids sounding forced; it's a wholly natural album that washes over its audience instantly. "We were desperate to go in and prove ourselves again," admits guitarist Jon Buckland in a telephone interview during a tour stop in Los Angeles. "There was no fear of selling less records or anything like that. Actually, I didn't really start worrying about it until we'd finished it. But we always feel like we've got stuff to prove, y'know. We're almost proving to ourselves that we're any good. That we deserve any kind of attention!" Fortunately for Buckland and his band-mates, there's nothing to worry about. The leadoff single, 'In My Place,' has shot the band back into the epicentre of the pop music spotlight once again. In this song alone, Buckland's hypnotizing guitar lines and Martin's signature falsetto are stronger than ever, and the rhythm sec-tion - bassist Berryman and drummer Champion - provides a thundering backbone. It's a fantastic first single. Critics and fans have reacted warmly, and the record shot straight to No. 1 soon after its release. Even the notoriously fickle British press is on the Coldplay bandwagon these days, despite an initial backlash that occurred when the band started to really soar in 2001. "It's been really good," says Buckland about the band's coverage in the UK. "But when enough people say they think you're good, it provokes people into saying they think you're [crap]. It's fair enough because not everyone likes you, and if too many nice things are written about someone, you need something to bring them back down to earth - especially if you don't like them. So I'm expecting a second backlash in about three months." The scrutiny of the UK music publications is just one of many unavoidable facts of being in a popular band from England. Another such reality is the tendency for bands from that country to be lumped in with other British bands on the basis of geography. "None of us are particularly nationalistic about England, says Buckland. "Once people hear [the band], it doesn't really matter." When it comes right down to it, he's absolutely right. The music is all that matters - not the country that happens to produce it. And as long as the UK breeds wonders such as Coldplay, who are we to complain? Whatever the reason is behind North America's love for British music - actual or nostalgic - at least we know what we like. After all, the ballads don't write themselves.

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Guy Berryman Bass Age : 25 Date of Birth : April 12, 1978 Place of Birth : Fife, Scotland Education : Engineering at University College in London Previous Job : Bartender Musical Influences : James Brown, Pink Floyd

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